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The art of the great painters who lived in other times is not an art of the past; perhaps it is more alive today than it ever was."
--Pablo Picassohttp://artblogbybob.blogspot.com/noreply@blogger.com (Bob)Blogger1686125tag:blogger.com,1999:blog-1706678653651301316.post-5321806012420154000Tue, 10 May 2016 02:25:00 +00002016-05-09T19:25:05.905-07:00UPDATE: Art Blog By Bob, version 2.0Hello!&nbsp; Welcome!&nbsp; Welcome to new comers and to old friends alike!&nbsp; <em>Art Blog By Bob</em> aims to explore the world of the visual arts primarily, but delves into music, movies, literature, and any relevant connections to the “real” world. You are presently looking at the original incarnation of <i>Art Blog By Bob</i> on Blogger that ran from 2007 through 2015.&nbsp; You can see my work from 2010 through 2016 at <a href="http://bigthink.com/experts/bobduggan" target="_blank"><em>Picture This</em></a>.&nbsp; For my latest (and greatest) writing, please come on over to <a href="https://artblogbybob.wordpress.com/">"version 2.0" of <i>Art Blog By Bob</i></a> on Wordpress.&nbsp; The best is yet to come.&nbsp; Thanks!http://artblogbybob.blogspot.com/2016/05/update-art-blog-by-bob-version-20.htmlnoreply@blogger.com (Bob)36tag:blogger.com,1999:blog-1706678653651301316.post-3363197582335051104Fri, 21 Aug 2015 11:48:00 +00002015-08-21T04:49:14.260-07:00Art TheftBig ThinkDa Vinci (Leonardo)GoyaGreedLouvreMunch (Edvard)Days of Infamy: August 21 and 22 and Major Art HeistsFor art history, August 21 and 22 are the dates that will live in infamy, not <a href="http://en.wikipedia.org/wiki/Pearl_Harbor_Attack">December 7th</a> (all apologies to <a href="http://en.wikipedia.org/wiki/Franklin_D._Roosevelt">FDR</a>). In some strange nexus of negative karma stretching over nearly a century, three of the greatest art heists of all time took place on these dates: the theft of the <a href="http://en.wikipedia.org/wiki/Leonardo_da_Vinci">Leonardo da Vinci</a>’s <a href="http://en.wikipedia.org/wiki/Mona_lisa"><i>Mona Lisa</i></a> (shown above) from the <a href="http://www.louvre.fr/en">Louvre</a> in Paris, France, on August 21, 1911; the theft of <a href="http://en.wikipedia.org/wiki/Goya">Goya</a>’s <i><a href="https://en.wikipedia.org/wiki/Portrait_of_the_Duke_of_Wellington_%28Goya%29"><i>Duke of Wellington</i></a></i> from the <a href="http://www.nationalgallery.org.uk/">National Gallery</a> in London, England, on August 21, 1961; and the theft of <a href="http://en.wikipedia.org/wiki/Edvard_munch">Edvard Munch</a>’s <a href="http://en.wikipedia.org/wiki/The_Scream"><i>The Scream</i></a> (shown above) and <i><a href="https://en.wikipedia.org/wiki/Madonna_%28Edvard_Munch%29">Madonna</a></i> from the <a href="http://munchmuseet.no/en/">Munch Museum</a> in Oslo, Norway, on August 22, 2004. Each story ends happily with the works returned safe and sound, but the stories behind each still bewilder and amaze. <a href="http://bigthink.com/Picture-This/days-of-infamy-august-21-and-22-and-major-art-heists">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/days-of-infamy-august-21-and-22-and-major-art-heists">Days of Infamy: August 21 and 22 and Major Art Heists</a>."http://artblogbybob.blogspot.com/2015/08/days-of-infamy-august-21-and-22-and.htmlnoreply@blogger.com (Bob)13tag:blogger.com,1999:blog-1706678653651301316.post-3947340711213810186Tue, 18 Aug 2015 14:39:00 +00002015-08-18T07:39:51.708-07:00Big ThinkBook Review by BobDylan (Bob)Music and ArtPolitical ArtElectric Apostasy: The Day Bob Dylan DiedFor the 1950s’ generation, <a href="https://en.wikipedia.org/wiki/The_Day_the_Music_Died">“the day the music died”</a> was February 3, 1959—the day when the plane carrying <a href="https://en.wikipedia.org/wiki/Buddy_Holly" title="Buddy Holly">Buddy Holly</a>, <a href="https://en.wikipedia.org/wiki/Ritchie_Valens" title="Ritchie Valens">Ritchie Valens</a>, and <a href="https://en.wikipedia.org/wiki/The_Big_Bopper" title="The Big Bopper">“The Big Bopper”</a> crashed. For the 1960s generation, however, “the day the music died” was July 25, 1965—the day when <a href="http://www.bobdylan.com/us/home">Bob Dylan</a> crashed the 1965 Newport Folk Festival stage with an electric guitar in front of him and rock band behind him to rip into a loud, raucous version of his new hit, <a href="https://en.wikipedia.org/wiki/Like_a_Rolling_Stone" title="Like a Rolling Stone">“Like a Rolling Stone.”</a> Bob Dylan the folk figure of the early ‘60s was dead. Bob Dylan the rock voice of the late ‘60s generation was born.&nbsp; “For many people the story of Newport 1965 is simple,” author-musician <a href="http://www.elijahwald.com/">Elijah Wald</a> writes in <a href="http://www.harpercollins.com/9780062366689/dylan-goes-electric"><em>Dylan Goes Electric: Newport, Seeger, Dylan, and the Night that Split the Sixties</em></a>, “Bob Dylan was busy being born, and anyone who did not welcome the change was busy dying.” In <em>Dylan Goes Electric</em>, Wald tells an electrifying story of just how complex the true story of that moment was—a cultural crossroads now mired in mythology but even more fascinating and significant when told with clear eyes and an understanding of both sides of the divide Dylan stood across. <a href="http://bigthink.com/Picture-This/electric-apostasy-the-day-bob-dylan-died">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/electric-apostasy-the-day-bob-dylan-died">Electric Apostasy: The Day Bob Dylan Died</a>."http://artblogbybob.blogspot.com/2015/08/electric-apostasy-day-bob-dylan-died.htmlnoreply@blogger.com (Bob)2tag:blogger.com,1999:blog-1706678653651301316.post-1111717602587831893Tue, 18 Aug 2015 12:29:00 +00002015-08-18T05:29:26.711-07:00Big ThinkBook Review by BobEnvironment and ArtKruger (Barbara)PhotographyPolitical ArtTomatsu (Shomei)Atomic Sublime: How Photography Shapes our View of Nuclear Warfare and EnergyThe 70<sup>th</sup> anniversary of <a href="https://en.wikipedia.org/wiki/Atomic_bombings_of_Hiroshima_and_Nagasaki">the dropping of atomic bombs on the Japanese cities of Hiroshima and Nagasaki</a> will undoubtedly be accompanied by images of <a href="https://en.wikipedia.org/wiki/Atomic_bombings_of_Hiroshima_and_Nagasaki#/media/File:Atomic_bombing_of_Japan.jpg">the “mushroom clouds” that rose over both cities</a>. Terrible and sublime, these images burned themselves into the consciousness of “the greatest generation” and every generation since that’s lived with both the legacy of nuclear war and the reality of nuclear energy. A new exhibition at the <a href="http://www.ago.net/">Art Gallery of Ontario</a>,&nbsp;titled <em><a href="http://www.ago.net/camera-atomica">Camera Atomica</a>,</em> looks deeply at the interrelated nature of photography and nuclear war and peace to come away with a fascinating glimpse of the calculatedly manufactured “atomic sublime” — the fascination with such terrible power at our command that simply won’t let us look away. <a href="http://bigthink.com/Picture-This/atomic-sublime-how-photography-shapes-our-view-of-nuclear-warfare-and-energy">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/atomic-sublime-how-photography-shapes-our-view-of-nuclear-warfare-and-energy">Atomic Sublime: How Photography Shapes our View of Nuclear Warfare and Energy</a>."http://artblogbybob.blogspot.com/2015/08/atomic-sublime-how-photography-shapes.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-1906946817386097316Tue, 18 Aug 2015 12:26:00 +00002015-08-18T05:26:22.797-07:00Big ThinkChicago (Judy)Indiana (Robert)Kahlo (Frida)Kelly (Ellsworth)Martin (Agnes)Newman (Barnett)Reinhardt (Ad)Women in ArtA Beautiful Mind: Agnes Martin, Minimalism, and the Feminist Voice“When I think of art, I think of beauty. Beauty is the mystery of life,<em>” </em><a href="http://www.theartstory.org/movement-minimalism.htm">minimalist</a><em> artist </em><a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/agnes-martin/who-is-agnes-martin">Agnes Martin</a> once explained<em>. “</em>It is not in the eye; it is in my mind. In our minds there is awareness of perfection.” In the first comprehensive survey of her art at the <a href="http://www.tate.org.uk/visit/tate-modern">Tate Modern</a>, in London, England, the exhibition <a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/agnes-martin"><em>Agnes Martin</em></a> strives to guide viewers to that “awareness of perfection” Martin strove to embody in her minimalist, geometrically founded art. Rather than the cold, person-less brand of modernist minimalism, Martin’s work personifies the warm humanity of Buddhist editing down to essentials. At the same time, surveying Martin’s art and thinking allows us to revisit the feminist critiques of minimalism and shows how Martin’s stepping back from the bustle of the New York art scene freed her to find “a beautiful mind” — not just for women, but for everyone. <a href="http://bigthink.com/Picture-This/a-beautiful-mind-agnes-martin-minimalism-and-the-feminist-voice">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/a-beautiful-mind-agnes-martin-minimalism-and-the-feminist-voice">A Beautiful Mind: Agnes Martin, Minimalism, and the Feminist Voice</a>."http://artblogbybob.blogspot.com/2015/08/a-beautiful-mind-agnes-martin.htmlnoreply@blogger.com (Bob)2tag:blogger.com,1999:blog-1706678653651301316.post-264472575546215245Tue, 18 Aug 2015 12:23:00 +00002015-08-18T05:23:27.265-07:00Big ThinkBook Review by BobCezanne (Paul)El GrecoGoyaKahlo (Frida)Kuniyoshi (Yasuo)Renoir (Auguste)Between Two Worlds: The Unveiling of Yasuo KuniyoshiWhen the <a href="http://whitney.org/">Whitney Museum of American Art</a> decided <a href="http://www.aaa.si.edu/collections/images/detail/whitney-museum-american-art-announcement-retrospective-exhibition-yasuo-kuniyoshi-17240">to stage in 1948 their first exhibition of a living American artist</a>, they chose someone who wasn’t even an American citizen, but only legally could become one just before his death. Painter <a href="https://en.wikipedia.org/wiki/Yasuo_Kuniyoshi">Yasuo Kuniyoshi</a> came to America as a teenager and immersed himself in American culture and art while rising to the top of his profession, all while facing discrimination based on his Japanese heritage. The exhibition <a href="http://americanart.si.edu/exhibitions/archive/2015/kuniyoshi"><em>The Artistic Journey of Yasuo Kuniyoshi</em></a>, which runs through August 30, 2015, at the <a href="http://americanart.si.edu/">Smithsonian American Art Museum in Washington, DC</a>, unveils an amazing story of an artist who lived between two worlds — East and West — while bridging them in his art that not only synthesized different traditions, but also mirrored the joys and cruelties of them. <a href="http://bigthink.com/Picture-This/between-two-worlds-the-unveiling-of-yasuo-kuniyoshi">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/between-two-worlds-the-unveiling-of-yasuo-kuniyoshi">Between Two Worlds: The Unveiling of Yasuo Kuniyoshi</a>."http://artblogbybob.blogspot.com/2015/08/between-two-worlds-unveiling-of-yasuo.htmlnoreply@blogger.com (Bob)3tag:blogger.com,1999:blog-1706678653651301316.post-7668295100059107169Tue, 18 Aug 2015 12:20:00 +00002015-08-18T05:20:30.973-07:00Beuys (Joseph)Big ThinkBook Review by BobEnvironment and ArtEvans (Mel)GreedTate MuseumTurner (J.M.W.)Crude Behavior: How Big Oil Tries to 'Artwash' ItselfAs <a href="https://en.wikipedia.org/wiki/BP">British Petroleum</a>’s <a href="https://en.wikipedia.org/wiki/Deepwater_Horizon_oil_spill"><em>Deepwater Horizon</em> oil rig spewed enough crude into the Gulf of Mexico to be seen from space in late April 2010</a>, the <a href="http://www.tate.org.uk/visit/tate-britain">Tate Britain</a> saw fit to celebrate their long-standing sponsorship by BP at their annual summer party. While oil stuck to shorelines and wildlife, the black mark of ecological destruction failed to stick to BP, at least for that night. Artist-activists Mel Evans and Anna Feigenbaum and the <a href="http://www.liberatetate.org.uk/">Liberate Tate</a> crew <a href="http://www.liberatetate.org.uk/performances/licence-to-spill-june-2010/">crashed that party with performance art protesting both the polluters and those who associated with them</a>. Now, five years later, Evans revisits the relationship between “<a href="https://en.wikipedia.org/wiki/Big_Oil">Big Oil</a>” and “Big Art” in <a href="http://www.press.uchicago.edu/ucp/books/book/distributed/A/bo20701626.html"><em>Artwash: Big Oil and the Arts</em></a>. Evans accuses Big Oil of focusing more on cleaning up their image than their business’ collateral damage and charges cultural institutions that take Big Oil sponsorship money as accomplices to that crime. <a href="http://bigthink.com/Picture-This/crude-behavior-how-big-oil-tries-to-artwash-itself">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/crude-behavior-how-big-oil-tries-to-artwash-itself">Crude Behavior: How Big Oil Tries to 'Artwash' Itself</a>."http://artblogbybob.blogspot.com/2015/08/crude-behavior-how-big-oil-tries-to.htmlnoreply@blogger.com (Bob)3tag:blogger.com,1999:blog-1706678653651301316.post-5299081427646097805Tue, 18 Aug 2015 12:17:00 +00002015-08-18T05:17:45.118-07:00Big ThinkBook Review by Bobliterature and artMancini (Antonio)Metropolitan Museum of ArtMonet (Claude)Sargent (John Singer)Omnivore’s Dilemma: Rethinking John Singer SargentThe standard line against painter <a href="https://en.wikipedia.org/wiki/John_Singer_Sargent">John Singer Sargent</a> goes like this: a very good painter of incredible technique, but little substance who flattered the rich and famous with decadently beautiful portraiture — a Victorian <a href="https://en.wikipedia.org/wiki/Andrea_del_Sarto">Andrea del Sarto</a> of sorts <a href="http://www.poetryfoundation.org/poem/173001">whose reach rarely exceeded his considerable artistic grasp</a>. A new exhibition of Sargent’s work and the accompanying catalogues argue that he was much more than a painter of pretty faces. Instead, the exhibition&nbsp;<a href="http://www.metmuseum.org/exhibitions/listings/2015/sargent-portraits-of-artists-and-friends"><em>Sargent: Portraits of Artists and Friends</em></a> and catalogues challenge us to see Sargent’s omnivorous mind, which swallowed up nascent modernist movements not just in painting, but also in literature, music, and theater. Sargent the omnivore’s dilemma thus lies in being too many things at once and tasking us to multitask with him. <a href="http://bigthink.com/Picture-This/omnivores-dilemma-rethinking-john-singer-sargent-2">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/omnivores-dilemma-rethinking-john-singer-sargent-2">Omnivore’s Dilemma: Rethinking John Singer Sargent</a>."http://artblogbybob.blogspot.com/2015/08/omnivores-dilemma-rethinking-john.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-95513820498253795Tue, 18 Aug 2015 12:15:00 +00002015-08-18T05:15:18.730-07:00Big ThinkBook Review by BobComicsDegas (Edgar)FilmJacob (Max)Matisse (Henri)Picasso (Pablo)Why the Best Film about Pablo Picasso Is a Graphic NovelArtists aren’t easy people to be around sometimes. Genius and jerk often walk hand in hand. They may suffer for their art, but those who support them often become <a href="https://en.wikipedia.org/wiki/Collateral_damage">collateral damage</a> in the quest for immortality. Making a <a href="https://en.wikipedia.org/wiki/Biographical_film">biopic</a> of any artist and balancing the good with the bad seems an almost impossible task. Making a biopic of <a href="https://en.wikipedia.org/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, a classic case study of the genius-as-jerk, that praises the painting while honestly assessing the collateral damage to women has never satisfactorily been filmed.&nbsp; But where cinema fails, maybe the cinematic graphic novel can succeed.&nbsp; The graphic novel <a href="http://www.selfmadehero.com/title.php?isbn=9781906838942&amp;edition_id=256"><em>Pablo</em></a>, written by Julie Birmant and illustrated by&nbsp;<a href="http://www.oubrerie.net/">Clément Oubrerie</a>, is the best “film” ever made about one of the founding fathers of modern art — a portrait of intertwined genius and jerk that never loses sight of either side. <a href="http://bigthink.com/Picture-This/why-the-best-film-about-pablo-picasso-is-a-graphic-novel">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/why-the-best-film-about-pablo-picasso-is-a-graphic-novel">Why the Best Film about Pablo Picasso Is a Graphic Novel</a>."http://artblogbybob.blogspot.com/2015/08/why-best-film-about-pablo-picasso-is.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-4867473655506518880Tue, 18 Aug 2015 12:12:00 +00002015-08-18T05:12:47.562-07:00Big ThinkBook Review by BobCourbet (Gustave)Delacroix (Eugene)Durand-Ruel (Paul)Monet (Claude)Philadelphia Museum of ArtRenoir (Auguste)The Gambler: How Paul Durand-Ruel Bet Big on Impressionism (and Won)What would you do? Imagine you’re a politically conservative, devoutly religious art dealer fleeing your war-torn country when you suddenly see art radically unlike anything you’ve seen before. Do you stay the course or gamble on this next “big thing”? Now add the sudden death of your pregnant young wife, which leaves you with five children under the age of nine whose futures now depend entirely on your choices. Do you roll the dice with your life and theirs? If you’re <a href="http://www.durand-ruel.fr/en/paul-durand-ruel">Paul Durand-Ruel</a> and that artist is <a href="https://en.wikipedia.org/wiki/Claude_Monet">Claude Monet</a>, the original <a href="https://en.wikipedia.org/wiki/Impressionism" title="Impressionism">Impressionist</a>, you don't just make that bet; you go “all in” — staking your family’s fortunes to those of a family of revolutionary artists. The exhibition <a href="http://www.philamuseum.org/exhibitions/813.html"><em>Discovering the Impressionists: Paul Durand-Ruel and the New Painting</em></a>, currently at the <a href="http://www.philamuseum.org/">Philadelphia Museum of Art</a>, goes “all in” with Durand-Ruel’s gamble and pays off big with a stirring tale of personal courage and art history in the making. <a href="http://bigthink.com/Picture-This/the-gambler-how-paul-durand-ruel-bet-big-on-impressionism-and-won">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/the-gambler-how-paul-durand-ruel-bet-big-on-impressionism-and-won">The Gambler: How Paul Durand-Ruel Bet Big on Impressionism (and Won)</a>."http://artblogbybob.blogspot.com/2015/08/the-gambler-how-paul-durand-ruel-bet.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-7175369326414124608Tue, 18 Aug 2015 12:10:00 +00002015-08-18T05:10:27.355-07:00Art Film Review by BobBig ThinkFilmForbidden Fruit: To See or Not to See Nazi Propaganda Films?On January 1, 2016, one of the most infamous books of the 20<sup>th</sup> century —&nbsp;<a href="https://en.wikipedia.org/wiki/Adolf_Hitler">Adolf Hitler</a>’s <em><a href="https://en.wikipedia.org/wiki/Mein_Kampf">Mein Kampf</a>&nbsp;</em>—&nbsp;<a href="https://en.wikipedia.org/wiki/Mein_Kampf#Republication_in_Germany_after_2015">enters public domain and can be published by anyone in Germany for the first time since the end of World War II</a>. Seventy years after the fall of the Nazis, people still debate allowing that particularly evil genii out of the bottle to influence young minds. Others argue that the genii’s been out of the bottle all along, either through underground sources or, more recently, the Internet. More controllable, however, have been the propaganda films of the Nazis, whose chief propagandist, <a href="https://en.wikipedia.org/wiki/Joseph_Goebbels">Joseph Goebbels</a>, announced in 1941 that, “Film is our most important medium for propaganda.” <a href="http://www.imdb.com/name/nm0595436/">Felix Moeller</a>’s new documentary <a href="https://zeitgeistfilms.com/film/forbiddenfilms"><em>Forbidden Films: The Hidden Legacy of Nazi Film</em></a> examines this question of allowing new generations to see these banned films and, if so, how to show them without that evil history repeating itself. <a href="http://bigthink.com/Picture-This/forbidden-fruit-to-see-or-not-to-see-nazi-propaganda-films">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/forbidden-fruit-to-see-or-not-to-see-nazi-propaganda-films">Forbidden Fruit: To See or Not to See Nazi Propaganda Films?</a>"http://artblogbybob.blogspot.com/2015/08/forbidden-fruit-to-see-or-not-to-see.htmlnoreply@blogger.com (Bob)0tag:blogger.com,1999:blog-1706678653651301316.post-1175315490744550795Tue, 18 Aug 2015 12:08:00 +00002015-08-18T05:08:44.356-07:00African artAfrican-American ArtBarnes (Albert)Barnes FoundationBig ThinkBook Review by BobThe Disruptive Roots of African Art Studies in AmericaThe <a href="http://www.barnesfoundation.org/">Barnes Foundation</a>’s current exhibition,&nbsp;<em><a href="http://www.barnesfoundation.org/exhibitions/upcoming/order-of-things/">Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things</a>,</em> epitomizes the business buzz phrase “<a href="http://en.wikipedia.org/wiki/Disruptive_innovation">disruptive innovation</a>” like few other museum shows (which I wrote about <a href="http://bigthink.com/Picture-This/disruptive-innovations-reordering-the-barnes-foundation">here</a>). Disrupt or die, the thinking goes. Old orders must make way for new. Coincidentally, as the Barnes Foundation, home of <a href="http://www.barnesfoundation.org/about/history/albert">Dr. Albert Barnes</a>’ meticulously and idiosyncratically ordered collection of Impressionist and Post-Impressionist masterpieces left just so since his death in 1951, invites outsider artists to question and challenge Dr. Barnes’ old order, it also publishes their own insider’s critical “warts and all” assessment of Dr. Barnes’ relationship to African art and African-Americans. In <em><a href="http://www.rizzoliusa.com/book.php?isbn=9780847845217"><em>African Art in the Barnes Foundation: The Triumph of L’Art nègre and the Harlem Renaissance</em></a></em>, scholar <a href="http://arthistory.umd.edu/alumni/Christa%20Clarke">Christa Clarke</a> reassesses Dr. Barnes intentions and results in his building of the first great African art collection in America. “More than just formal accents to modernist paintings and other Western art in the collection,” Clarke argues, “African art deserves to be seen as central to the aesthetic mission and progressive vision that was at the very heart of the Barnes Foundation.” <a href="http://bigthink.com/Picture-This/the-disruptive-roots-of-african-art-studies-in-america">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/the-disruptive-roots-of-african-art-studies-in-america">The Disruptive Roots of African Art Studies in America</a>."http://artblogbybob.blogspot.com/2015/08/the-disruptive-roots-of-african-art.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-8617543861953994588Tue, 18 Aug 2015 12:06:00 +00002015-08-18T05:06:36.337-07:00Big ThinkCage (John)Duchamp (Marcel)Johns (Jasper)MOMAMusic and ArtOno (Yoko)Rauschenberg (Robert)Better Late Than Never: Yoko Ono at the MoMA<a href="http://en.wikipedia.org/wiki/John_Lennon">John Lennon</a> liked to joke that Yoko Ono was “the world’s most famous unknown artist.” Before she infamously <a href="http://en.wikipedia.org/wiki/Break-up_of_the_Beatles">“broke up the Beatles”</a> (but not really), Ono built an internationally recognized career as an artist in the developing fields of <a href="http://en.wikipedia.org/wiki/Conceptual_art">Conceptual art</a>, <a href="http://en.wikipedia.org/wiki/Experimental_film">experimental film</a>, and&nbsp;<a href="http://en.wikipedia.org/wiki/Performance_art">performance art</a>. Unfairly famous then and now for all the wrong reasons, Ono’s long fought in her own humorously sly way for recognition, beginning with her self-staged 1971 “show” <a href="https://www.moma.org/explore/multimedia/audios/406/7251"><em>Museum of Modern (F)art</em></a>, a performance piece in which she dreamed of a one-woman exhibition of her work at the <a href="http://www.moma.org/">Museum of Modern Art, New York</a>. Now, more than 40 years later, the MoMA makes that dream come true with the exhibition <a href="http://www.moma.org/visit/calendar/exhibitions/1544"><em>Yoko Ono: One Woman Show, 1960–1971</em></a>. Better late than never, this exhibition of the pre-Lennon and early-Lennon Ono establishes her not just as the world’s most famous unknown artist, but the most unfairly unknown one, too. <a href="http://bigthink.com/Picture-This/better-late-than-never-yoko-ono-at-the-moma">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/better-late-than-never-yoko-ono-at-the-moma">Better Late Than Never: Yoko Ono at the MoMA</a>."http://artblogbybob.blogspot.com/2015/08/better-late-than-never-yoko-ono-at-moma.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-1624010337932709514Tue, 18 Aug 2015 12:04:00 +00002015-08-18T05:04:00.483-07:00Big ThinkBook Review by Bobliterature and artMusic and ArtSouthern Gothic Punk: Reading Nell Zink’s 'Mislaid'If <a href="http://en.wikipedia.org/wiki/Flannery_O%27Connor">Flannery O’Connor</a> somehow birthed the love child of <a href="http://en.wikipedia.org/wiki/Sid_Vicious">Sid Vicious</a>, she might end up sounding like novelist <a href="http://en.wikipedia.org/wiki/Nell_Zink">Nell Zink</a>. Equal parts <a href="http://en.wikipedia.org/wiki/Southern_Gothic" title="Southern Gothic">Southern Gothic</a>’s grotesquely twisted charm and <a href="http://en.wikipedia.org/wiki/Punk_rock" title="Punk rock">punk</a> and&nbsp;<a href="http://en.wikipedia.org/wiki/Alternative_rock" title="Alternative rock">alternative</a> music’s insiderish anti-establishmentism, Zink’s second novel <a href="http://www.harpercollins.com/9780062364777/mislaid"><em>Mislaid</em></a> will disorient you until you let it delight you.&nbsp; Zink’s mix — which I’ll call Southern Gothic Punk — might be an acquired taste, but a taste well worth experiencing if only to break out of the contemporary rut of <a href="http://en.wikipedia.org/wiki/Master_of_Fine_Arts">MFA</a>-programed, soundalike fiction that’s become the <a href="http://en.wikipedia.org/wiki/Bubblegum_pop">bubblegum pop</a> of today’s literature. <a href="http://bigthink.com/Picture-This/southern-gothic-punk-reading-nell-zinks-mislaid">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/southern-gothic-punk-reading-nell-zinks-mislaid">Southern Gothic Punk: Reading Nell Zink’s 'Mislaid'</a>."http://artblogbybob.blogspot.com/2015/08/southern-gothic-punk-reading-nell-zinks.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-2104543568355821903Tue, 18 Aug 2015 12:01:00 +00002015-08-18T05:01:41.664-07:00Big ThinkMartin (Agnes)ReligionTuttle (Richard)A Show About Nothing: Richard Tuttle’s Mindfulness MasterpiecesMore than 20 years ago, the sitcom <a href="http://en.wikipedia.org/wiki/Seinfeld" title="Seinfeld"><em>Seinfeld</em></a> went “meta” and joked that it was <a href="http://en.wikipedia.org/wiki/The_Pitch_%28Seinfeld%29">“a show about nothing.”</a> But 20 years before <a href="http://en.wikipedia.org/wiki/George_Costanza">George Costanza</a>’s epiphany, artist <a href="http://en.wikipedia.org/wiki/Richard_Tuttle">Richard Tuttle</a> was staging shows about nothing featuring works such as <a href="http://moca.org/pc/viewArtWork.php?id=100"><em>Wire Piece</em></a> (detail shown above) — a piece of florist wire nailed at either end to a wall marked with a penciled line. But, as Jerry concludes, there’s “something” in that “nothing.” A new retrospective of Tuttle’s art at the <a href="http://www.fabricworkshopandmuseum.org/">Fabric Workshop and Museum</a> in Philadelphia, <a href="http://www.fabricworkshopandmuseum.org/Exhibitions/ExhibitionDetail.aspx?ExhibitionId=b0753854-bb13-48b3-b554-ca1184f67f3b"><em>Both/And: Richard Tuttle Print and Cloth</em></a>, dives into the depths, and widths, of this difficultly philosophical, yet compellingly simple artist who takes the everyday nothings of line, paper, and cloth to create extraordinary statements about the need to be mindful of the artful world all around us. <a href="http://bigthink.com/Picture-This/a-show-about-nothing-richard-tuttles-mindfulness-masterpieces">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/a-show-about-nothing-richard-tuttles-mindfulness-masterpieces">A Show About Nothing: Richard Tuttle’s Mindfulness Masterpieces</a>."http://artblogbybob.blogspot.com/2015/08/a-show-about-nothing-richard-tuttles.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-3289193879502848692Fri, 22 May 2015 01:19:00 +00002015-05-21T18:19:22.425-07:00Barnes (Albert)Barnes FoundationBig ThinkCezanne (Paul)Dion (Mark)Pfaff (Judy)Renoir (Auguste)Van Gogh (Vincent)Wilson (Fred)Disruptive Innovations: Reordering the Barnes FoundationFew business buzzphrases draw as much interest (and <a href="http://www.newyorker.com/magazine/2014/06/23/the-disruption-machine">ire</a>) as “<a href="http://en.wikipedia.org/wiki/Disruptive_innovation">disruptive innovation</a>.”&nbsp; Disrupt or die, the thinking goes. Old orders must make way for new. At the <a href="http://www.barnesfoundation.org/">Barnes Foundation</a>, home of <a href="http://www.barnesfoundation.org/about/history/albert">Dr. Albert Barnes</a>’ meticulously and idiosyncratically ordered collection of Impressionist and Post-Impressionist masterpieces left just so since his death in 1951, three artistic innovators aim at questioning and challenging Dr. Barnes’ old order.&nbsp;<a href="http://www.barnesfoundation.org/exhibitions/upcoming/order-of-things/"><em>Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things</em></a> invites three award-winning, contemporary installation artists to disrupt the existing paradigm at the Barnes and assist us in seeing Dr. Barnes and his collection in a whole new way. <a href="http://bigthink.com/Picture-This/disruptive-innovations-reordering-the-barnes-foundation">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/disruptive-innovations-reordering-the-barnes-foundation">Disruptive Innovations: Reordering the Barnes Foundation</a>."http://artblogbybob.blogspot.com/2015/05/disruptive-innovations-reordering.htmlnoreply@blogger.com (Bob)6tag:blogger.com,1999:blog-1706678653651301316.post-3502041554952872912Tue, 19 May 2015 16:46:00 +00002015-05-19T09:46:13.507-07:00Big ThinkComicsWomen in ArtBody Language: Why Comics Still (and May Always) Get Women Heroes WrongUnlike comics creators of the past, comics creators of the present can’t be faulted for not trying to make better female comic superheroes. The days of <a href="http://en.wikipedia.org/wiki/Wonder_Woman">Wonder Woman</a> <a href="https://thanley.wordpress.com/2012/06/25/wonder-woman-secretary-of-the-justice-society-of-america/">acting as the secretary for the Justice Society of America</a> are thankfully long gone — artifacts of a sexist past. Yet no matter how hard they try, comics never seem to be able to turn the genderist tide. Now Marvel Comics comes out with <a href="http://marvel.com/comics/series/19245/a-force_%282015_-_present%29" target="_blank"><em>A-Force </em>#1</a> (shown above), a female version of the <a href="http://en.wikipedia.org/wiki/Avengers_%28comics%29">Avengers</a> currently blockbustering at a googleplex near you. But, alas, <a href="http://www.newyorker.com/culture/cultural-comment/marvel-a-force-female-superheroes?mbid=nl_050815_Daily&amp;CNDID=5489580&amp;mbid=nl_050815_Daily&amp;CNDID=5489580&amp;spMailingID=7727647&amp;spUserID=MjUwMzA5MDA0MzMS1&amp;spJobID=680855413&amp;spReportId=NjgwODU1NDEzS0">as Jill Lepore points out</a>, “They all look like porn stars.” Why do comics still get women heroes wrong? Is it the limitations of the medium or a body language we can’t help but read and respond to? <a href="http://bigthink.com/Picture-This/body-language-why-comics-still-and-may-always-get-women-heroes-wrong">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/body-language-why-comics-still-and-may-always-get-women-heroes-wrong">Body Language: Why Comics Still (and May Always) Get Women Heroes Wrong</a>."http://artblogbybob.blogspot.com/2015/05/body-language-why-comics-still-and-may.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-1010940169204467180Tue, 19 May 2015 16:43:00 +00002015-05-19T09:43:59.245-07:00al-Ani (Jananne)Ancient ArtBig ThinkBook Review by BobDe Kooning (Willem)FashionGiacometti (Alberto)Moore (Henry)Rakowitz (Michael)The Glam-Ur-ous Life: Archaeology and Modern ArtWhen British archaeologist <a href="http://en.wikipedia.org/wiki/Leonard_Woolley" title="Leonard Woolley">Leonard Woolley</a> discovered in December 1927 the tomb of <a href="http://en.wikipedia.org/wiki/Puabi">Puabi</a>, the queen/priestess of the <a href="http://en.wikipedia.org/wiki/Sumer" title="Sumer">Sumerian</a> city of <a href="http://en.wikipedia.org/wiki/Ur" title="Ur">Ur</a> during the <a href="http://en.wikipedia.org/wiki/Sumerian_King_List#First_dynasty_of_Ur" title="Sumerian King List">First Dynasty of Ur</a> more than 4,000 years ago, the story rivaled that of <a href="http://en.wikipedia.org/wiki/Howard_Carter" title="Howard Carter">Howard Carter</a>’s discovery of <a href="http://en.wikipedia.org/wiki/Tutankhamun">Tutankhamun</a>'s tomb in Egypt just five years earlier. “Magnificent with jewels,” as Woolley described it, Puabi’s tomb contained the bodies of dozens of attendants killed to accompany her in the afterlife — the ideal material for a headline-grabbing PR campaign that momentarily shouldered Tut out of the spotlight. A new exhibit at New York’s <a href="http://isaw.nyu.edu/people/staff/jennifer-chi">The Institute for the Study of the Ancient World</a>&nbsp;titled <a href="http://isaw.nyu.edu/exhibitions/aesthetics"><em>From Ancient to Modern: Archaeology and Aesthetics</em></a> puts Puabi back in the spotlight to examine how archaeology and aesthetics intersected, transforming ancient art into modern and making modern art strive to be ancient. <a href="http://bigthink.com/Picture-This/the-glam-ur-ous-life-archaeology-and-modern-art">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/the-glam-ur-ous-life-archaeology-and-modern-art">The Glam-Ur-ous Life: Archaeology and Modern Art</a>."http://artblogbybob.blogspot.com/2015/05/the-glam-ur-ous-life-archaeology-and.htmlnoreply@blogger.com (Bob)3tag:blogger.com,1999:blog-1706678653651301316.post-8880588953937869899Tue, 19 May 2015 16:40:00 +00002015-05-19T09:40:18.684-07:00Big ThinkDali (Salvador)Duchamp (Marcel)Magritte (Rene)Philadelphia Museum of ArtRay (Man)Warhol (Andy)Eye Opening: Modern Art and the Early Days of American TelevisionBy the 1960s, the two most criticized art forms in America were modern art and television.&nbsp; Some critics called modern art mystifying junk, while others targeted TV as anything from trash to a threat to democracy.&nbsp;<a href="http://thejewishmuseum.org/exhibitions/revolution-of-the-eye"><em>Revolution of the Eye: Modern Art and the Birth of American Television</em></a> at <a href="http://thejewishmuseum.org/exhibitions/revolution-of-the-eye">The Jewish Museum, New York,</a> hopes to redeem both media by exploring how modern art provided an ethos and aesthetic for early television — a debt repaid later as television, in turn, inspired a new generation of modern artists, including <a href="http://en.wikipedia.org/wiki/Andy_Warhol">Andy Warhol</a>, who began as a modernist-influenced graphic designer for, among other clients, television networks. By looking back at modern art and television’s mutual love affair from the 1940s to the 1970s, <em>Revolution of the Eye</em> challenges us to reflect on the artistic aspirations of TV’s latest golden age. <a href="http://bigthink.com/Picture-This/eye-opening-modern-art-and-the-early-days-of-american-television">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/eye-opening-modern-art-and-the-early-days-of-american-television">Eye Opening: Modern Art and the Early Days of American Television</a>."http://artblogbybob.blogspot.com/2015/05/eye-opening-modern-art-and-early-days.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-108080809802192963Tue, 19 May 2015 16:37:00 +00002015-05-19T09:37:05.396-07:00Big ThinkHartley (Marsden)Hopper (Edward)Johns (Jasper)MuseumsPollock (Jackson)The Shock of the New (and Old): The Whitney Museum’s New HomeWith the May 1<sup>st</sup> grand opening to the public of its new building in <a href="http://en.wikipedia.org/wiki/Meatpacking_District,_Manhattan">Manhattan’s Meatpacking District</a>, the <a href="http://whitney.org/">Whitney Museum</a> launches a new era not only in the New York City art scene, but also, possibly, in the very world of museums. Thanks to a <a href="http://www.rpbw.com/">Renzo Piano</a>-designed new building built, as Whitney Director <a href="http://en.wikipedia.org/wiki/Adam_D._Weinberg">Adam D. Weinberg</a> put it, “from the inside out” to serve the interests of the art and the patrons first, the new Whitney and its classic collection of American art stretching back to 1900 has drawn excited raves and exasperated rants from critics. Their inaugural exhibition, <a href="http://whitney.org/Exhibitions/AmericaIsHardToSee"><em>America Is Hard to See</em></a>, gathers together long-loved classic works with rarely seen newcomers to create a paradox of old and new to mirror the many paradoxes of the American history the art embodies and critiques by turns. This shock of the new (and old) is the must-see art event of the year. <a href="http://bigthink.com/Picture-This/the-shock-of-the-new-and-old-the-whitney-museums-new-home">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/the-shock-of-the-new-and-old-the-whitney-museums-new-home">The Shock of the New (and Old): The Whitney Museum’s New Home</a>."http://artblogbybob.blogspot.com/2015/05/the-shock-of-new-and-old-whitney.htmlnoreply@blogger.com (Bob)2tag:blogger.com,1999:blog-1706678653651301316.post-3793275825803422580Tue, 19 May 2015 16:33:00 +00002015-05-19T09:33:44.700-07:00Big ThinkBook Review by BobCage (John)Music and ArtOno (Yoko)Warhol (Andy)Like a Rolling Stone: Was 1965 the Most Revolutionary Year in Music?What do <a href="http://en.wikipedia.org/wiki/Yesterday_%28Beatles_song%29">“Yesterday,”</a> <a href="http://en.wikipedia.org/wiki/%28I_Can%27t_Get_No%29_Satisfaction">“Satisfaction,”</a> <a href="http://en.wikipedia.org/wiki/My_Generation">“My Generation,”</a> <a href="http://en.wikipedia.org/wiki/The_Sound_of_Silence">“The Sound of Silence,”</a> <a href="http://en.wikipedia.org/wiki/California_Girls">“California Girls,”</a> and <a href="http://en.wikipedia.org/wiki/Like_a_Rolling_Stone">“Like a Rolling Stone”</a> all have in common? They were all hits in 1965, the year author <a href="http://solobeatles.com/category/about-the-writer-contact/">Andrew Grant Jackson</a> calls “the most revolutionary year in music.” In <a href="http://us.macmillan.com/1965themostrevolutionaryyearinmusic/andrewgrantjackson"><em>1965: The Most Revolutionary Year in Music</em></a>, Jackson weaves a fascinating narrative of how popular music and social change influenced one another to create a year memorable not only for great music, but also for great progress in American culture. In this whirlwind tour of multiple genres of music as well as multiple pressing political issues, Jackson states a compelling case for 1965 as a key turning point in American music and society as well as provides a mirror for how music and society interact today, 50 years later. <a href="http://bigthink.com/Picture-This/like-a-rolling-stone-was-1965-the-most-revolutionary-year-in-music">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/like-a-rolling-stone-was-1965-the-most-revolutionary-year-in-music">Like a Rolling Stone: Was 1965 the Most Revolutionary Year in Music?</a>"http://artblogbybob.blogspot.com/2015/05/like-rolling-stone-was-1965-most.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-8142421935192584219Tue, 21 Apr 2015 13:19:00 +00002015-04-21T06:19:38.594-07:00Beuys (Joseph)Big ThinkBook Review by BobDiefenbach (Karl Wilhelm)Hundertwasser (Friedensreich)Klimt (Gustav)Kupka (Frantisek)Performance ArtPolitical ArtReligionSchiele (Egon)Vision Loss: The Forgotten German Prophets Secretly Behind Modern Art&nbsp;The forgotten aspects of art history will always be the most intriguing. Digging up the dead storylines of art history, whether in the distant or the recent past, will never end, mostly thanks to forces that buried the facts, if not the bodies, for whatever agenda. <a href="http://schirn.de/en/ARTISTS_PROPHETS.html"><em>Artists and Prophets: A Secret History of Modern Art 1872-1972</em></a> at the <a href="http://schirn.de/en/">Schirn Kunsthalle Frankfurt</a>&nbsp;resurrects German visionaries and Jesus wannabes from the late 19<sup>th</sup> and early 20<sup>th</sup> centuries to look at how their exploits and artistic creations helped shape the course of German and European modern art. It also shines light on how the impact of those figures fell into obscurity as another casualty of the ideological war waged by that most unfortunately unforgettable of German messianic aspirants —&nbsp;<a href="http://en.wikipedia.org/wiki/Adolf_Hitler">Adolf Hitler</a>. <a href="http://bigthink.com/Picture-This/vision-loss-the-forgotten-german-prophets-secretly-behind-modern-art">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/vision-loss-the-forgotten-german-prophets-secretly-behind-modern-art">Vision Loss: The Forgotten German Prophets Secretly Behind Modern Art</a>."http://artblogbybob.blogspot.com/2015/04/vision-loss-forgotten-german-prophets.htmlnoreply@blogger.com (Bob)0tag:blogger.com,1999:blog-1706678653651301316.post-8843361669385173063Tue, 21 Apr 2015 13:15:00 +00002015-04-21T06:15:48.974-07:00Big ThinkBook Review by BobDewing (Maria Oakey)Frieseke (Frederick Carl)Hale (Lilian Westcott)Hale (Philip Leslie)Monet (Claude)Pennsylvania Academy of the Fine ArtsWomen in ArtFlower Power: Women, Gardens, and the Dawn of American Impressionism<a href="http://en.wikipedia.org/wiki/American_Impressionism">American Impressionism</a>’s often been seen as a pale copy of the <a href="http://en.wikipedia.org/wiki/Impressionism">French Impressionism</a> that flowered in the late 19<sup>th</sup> century. Although American Impressionists early on copied their French counterparts (and even made pilgrimages to <a href="http://en.wikipedia.org/wiki/Claude_Monet">Monet</a>’s <a href="http://en.wikipedia.org/wiki/Giverny">Giverny</a> garden and home), the exhibition <em><a href="https://www.pafa.org/exhibitions/artists-garden-american-impressionism-and-garden-movement-1887-1920">The Artist's Garden: American Impressionism and the Garden Movement, 1887–1920</a>,</em> at the <a href="https://www.pafa.org/exhibitions/artists-garden-american-impressionism-and-garden-movement-1887-1920">Pennsylvania Academy of the Fine Arts</a> through May 24, 2015, proves that American Impressionism quickly blossomed into something distinct — and distinctly American — by the turn of the 20<sup>th</sup> century. Capturing aesthetically a moment of contradictions as&nbsp;<a href="http://en.wikipedia.org/wiki/Nativism_%28politics%29#20th_century">American nativism</a> threatened to close borders while <a href="http://en.wikipedia.org/wiki/Women%27s_suffrage_in_the_United_States">women’s suffrage</a> struggled to open doors, <em>The Artist’s Garden</em> demonstrates the power of flowers to speak volumes about the American past, and present. <a href="http://bigthink.com/Picture-This/flower-power-women-gardens-and-the-dawn-of-american-impressionism">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/flower-power-women-gardens-and-the-dawn-of-american-impressionism">Flower Power: Women, Gardens, and the Dawn of American Impressionism</a>."http://artblogbybob.blogspot.com/2015/04/flower-power-women-gardens-and-dawn-of.htmlnoreply@blogger.com (Bob)1tag:blogger.com,1999:blog-1706678653651301316.post-2609395485904496830Tue, 21 Apr 2015 13:10:00 +00002015-04-21T06:10:16.284-07:00Big ThinkBook Review by BobMusic and ArtPhilosophy and ArtReligionRothko (Mark)Repairing the World: The Road to The Rothko ChapelOf the many concepts of <a href="http://en.wikipedia.org/wiki/Judaism">Judaism</a> artist <a href="http://www.nga.gov/feature/rothko/">Mark Rothko</a> took to heart, the idea of <a href="http://en.wikipedia.org/wiki/Tikkun_olam"><em>tikkun olam</em></a>, Hebrew for “repairing the world,” penetrated the deepest. In <a href="http://jewishlives.org/content/mark-rothko-toward-light-chapel"><em>Mark Rothko: Toward the Light in the Chapel</em></a>, academic and a cultural historian <a href="http://anniecohensolal.com/">Annie Cohen-Solal</a> cuts to the heart of Rothko’s life and art and sheds new light on how both seemingly had to end at <a href="http://www.rothkochapel.org/">The Rothko Chapel</a> (shown above), the Houston home of Rothko’s final works that he tragically didn’t live long enough to see himself. In this tightly focused new biography, Cohen-Solal shows us both how The Rothko Chapel culminates Rothko’s life-long mission to repair his world and how it continues to serve as a light of hope in our darkening world. <a href="http://bigthink.com/Picture-This/repairing-the-world-the-road-to-the-rothko-chapel">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/repairing-the-world-the-road-to-the-rothko-chapel">Repairing the World: The Road to The Rothko Chapel</a>."http://artblogbybob.blogspot.com/2015/04/repairing-world-road-to-rothko-chapel.htmlnoreply@blogger.com (Bob)11tag:blogger.com,1999:blog-1706678653651301316.post-1111031640818762803Tue, 21 Apr 2015 13:07:00 +00002015-04-21T06:07:51.986-07:00Big ThinkKahlo (Frida)Political ArtRivera (Diego)Women in ArtComebacks: Frida Kahlo, Diego Rivera, and the City of DetroitFew American cultural institutions stared as deep into the yawning, austerity-driven abyss of large-scale deaccessioning as <a href="http://www.dia.org/">The Detroit Institute of Arts</a>. <a href="http://en.wikipedia.org/wiki/Detroit_bankruptcy">When the City of Detroit declared bankruptcy in 2013</a>, vulturous creditors circled the DIA’s collection, estimated worth (depending on the estimator) of $400 million to over $800 million. Some experts see <a href="http://www.huffingtonpost.com/stephen-mariani/detroit-can-make-a-comeback_b_6391336.html">signs of a Detroit comeback</a>, however, but one very visible sign is the new DIA exhibition <a href="http://www.dia.org/calendar/exhibition.aspx?id=4608&amp;iid"><em>Diego Rivera and Frida Kahlo in Detroit</em></a><em>, </em>a showcase of the city’s ties to Mexican artists <a href="http://en.wikipedia.org/wiki/Frida_Kahlo">Frida Kahlo</a> and <a href="http://en.wikipedia.org/wiki/Diego_Rivera" title="Diego Rivera">Diego Rivera</a> as well as a tribute to Kahlo’s and Rivera’s own artistic comebacks. Few exhibitions truly capture the spirit of a city at a critical moment in its history, but <a href="http://www.dia.org/calendar/exhibition.aspx?id=4608&amp;iid"><em>Diego Rivera and Frida Kahlo in Detroit</em></a> is a show of comebacks that will have you coming back for more. <a href="http://bigthink.com/Picture-This/comebacks-frida-kahlo-diego-rivera-and-the-city-of-detroit">Please come over to <i><b>Picture This</b></i> at <b><i>Big Think</i></b></a> to read more of "<a href="http://bigthink.com/Picture-This/comebacks-frida-kahlo-diego-rivera-and-the-city-of-detroit">Comebacks: Frida Kahlo, Diego Rivera, and the City of Detroit</a>."http://artblogbybob.blogspot.com/2015/04/comebacks-frida-kahlo-diego-rivera-and.htmlnoreply@blogger.com (Bob)0